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Meyer Schapiro papers, 1919-2006

400 linear feet
Abstract Or Scope
This collection encompasses the professional, personal, and artistic life of art historian Meyer Schapiro.
1 result

Frederick Fried Coney Island collection, 1847-2001

32.62 linear feet
Abstract Or Scope
The collection consists of materials used by Frederick Fried in his research and writing about folk art and material culture, especially related to Coney Island, Brooklyn, New York. A significant portion of the collection consists of the personal archive of William F. Mangels, which was purchased by Fried in 1955. Mangels was a designer and manufacturer of amusement rides and founder of the American Museum of Public Recreation at Coney Island. Subjects include amusement parks, amusement rides, architecture, bathing pavilions, beaches, beauty contests, carousels, carousel animals, Brooklyn, coin-operated machines, Coney Island, exhibitions, games of chance and skill, hotels, mechanical rides, mechanization, parades, pleasure railways, recreation, roller coasters, sideshows, transportation, and other subjects related to American material culture and popular amusement.

Iris Owens papers, 1986-1986

0.5 linear feet
Abstract Or Scope

This small collection contains manuscript drafts, correspondence, and financial documents, and it documents Owens's work writing articles for Art & Antiques in the 1980s. They reveal her fraught and obsessive composition process.

1 result

Peter C. Grierson & Co. collection of templates, stencils, sample boards and drawings, 1880s-1900s

2400 items
Abstract Or Scope

Broken into two series, Stencils and Drawings and Collected Material, this collection includes a variety of visual material and a small amount of written work including meeting minutes of the Brotherhood of Painters and Decorators of America and two educational booklets. The stencils in this collection were organized by the creation of "Stencil Sets." In the process of creating a stenciled surface, Grierson would first draw a design drawing. From this drawing the stencil was cut. An intricate and polychrome composition would require a layering technique that demanded the stencil to be broken up into individual components. Thus, to properly execute a single design drawing, upwards of five stencils might be required. When possible the design drawings were matched with their stencils to create a complete set. Individual stencils without design drawings were grouped thematically.

2 results